This set is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano!
Not to be confused with At the Jazz Corner of the World, the Messengers' 1959 Birdland recording (which featured tenor saxophonist Hank Mobley), Meet was recorded the following year at the band's favored venue with the still-rawboned tenorist Wayne Shorter joining trumpeter Lee Morgan on an explosive front line. Originally released in separate volumes but here presented as a two-CD set, the album maintains the Messengers' ties to the underappreciated Mobley via three originals that he never recorded himself. The emphasis is less on catchy tunes than full-bore blowing, with the rhythm section of Bobby Timmons, Jymie Merritt, and the unbeatable Blakey plumbing their bag of hard-bop tricks to push the music through the grooves.
This was a forerunner of the Miles Davis Quintet as it was his first session with Red Garland and Philly Joe Jones. Up to then his Prestige dates had been of the "all star" variety. (Oscar Pettiford fills that bill here.) By the fall, John Coltrane and Paul Chambers would come aboard to help form the first of a continuum of great Davis working groups. On "A Night in Tunisia" Philly Joe used special sticks with little cymbals riveted to the shaft. Recorded June 7, 1955 at Van Gelder Studio in Hackensack, NJ. With Red Garland, Oscar Pettiford, Philly Joe Jones.